Animsquad Master Class Disney S Zach Parrish Brent Homman ~upd~ Jun 2026

AnimSquad Master Class (17 Hours Total) ├── Zach Parrish Segment (~10 Hours): Cartoony, High-Energy Shot └── Brent Homman Segment (~7 Hours): Subtle, Close-Up Acting Shot 1. Zach Parrish: Mastering the Fast, Cartoony Shot

: Focuses on subtle, close-up character performances, specifically maintaining appeal and "fleshiness" in female characters. He draws on his experiences from blockbuster Disney films like Frozen and Tangled to demonstrate how to manage highly complex animation shots.

Keeping characters "appealing" even in awkward or emotional poses.

This article explores the core philosophy of AnimSquad, the pedigree of its marquee instructors, the structure of the Master Class, and how this program equips animators with the tools to produce Disney-level feature animation. The Vision Behind AnimSquad animsquad master class disney s zach parrish brent homman

: The instructors share their personal "tricks" for speed and efficiency—Parrish is specifically noted for his ability to verbalize complex technical steps while animating at a professional pace. Why It Matters

“The audience doesn’t need to see the tear,” Homman explained. “They need to see the stop . The hitch in the breath. That’s Disney physics. It’s not real gravity; it’s emotional gravity.”

When you get a critique from both in the same session—which occasionally happens in these Master Classes—you get a 360-degree view of your shot. Parrish fixes the body , Homman fixes the soul . AnimSquad Master Class (17 Hours Total) ├── Zach

Zach Parrish is known for his incredible speed and ability to verbalize every technical and creative step he takes. Head of Animation.

To understand the weight of this specific master class, you have to look at the resumes of the two men leading it.

Handled character execution on Bolt , Frozen 2 , Raya and the Last Dragon , and Strange World . Inside the Curriculum: Two Distinct Workflows Keeping characters "appealing" even in awkward or emotional

How to handle, a, close-up, to bring out the, fleshy, "squash and stretch" of the face.

He pulled up a side-by-side: a frantic action sequence from Raya next to a quiet, two-shot dialogue scene from the same film. He showed how the spacing of drawings—the tiny gaps between poses—creates a rhythm that either tires the eye or guides it.